You are currently browsing the tag archive for the ‘1994’ tag.

Director: Lynn Smith
Release Date: 1994
Rating: ★★½

‘Sandburg’s Arithmetic’ is a gentle if unremarkable children’s film which uses the poet Carl Sandburg’s reading of his own poem ‘Arithmetic’ as its basis.

Smith illustrates the poem with painted animation images of birds, children, numbers and a zebra, which all sprout from the text. The film has a happy atmosphere, greatly helped by the vivid colors and Zander Amy’s rustic, yet lively music. Smith’s strongest point in animation is her command of perspective, event though she’s no Georges Schwizgebel.

‘Sandburg’s Arithmetic’ is a charming little film, but no more than that. But then again, it doesn’t aim to.

Watch an excerpt from ‘Sandburg’s Arithmetic’ yourself and tell me what you think:

‘Sandburg’s Arithmetic’ is available on the The Animation Show of Shows DVD Box Set 6

Director: Michael Dudok de Wit
Release Date: 1994
Rating: ★★★★½

Dutch master animator Michael Dudok de Wit came into presence with this short, made as an artist at residence at the renowned Folimage animation studio in France.

In this film Dudok de Wit already establishes his trademark command of light and shadow. The setting is a monastery bathing in Summer sunlight. In fact, all background artwork, done by Dudok de Wit himself, is gorgeous. The film has a very simple premise (a monk wants to catch a fish), uses no dialogue, and knows a simple character design and excellent comic timing. Yet, the film is not a gag film, but a rather poetic meditation on fanaticism.

The monk’s movements are echoed by Serge Besset’s excellent score, which uses variations on the tune of la folía, based on those by baroque composer Arcangelo Corelli. Music and movement are in perfect tune and form another layer of delight. Unfortunately, the film ends rather puzzling, and it’s a little as if Dudok de Wit couldn’t dream of a more proper ending to his otherwise delightful short.

Watch ‘The Monk and the Fish’ yourself and tell me what you think:

‘The Monk and the Fish’ is available on the The Animation Show of Shows DVD Box Set 3

Director: Phil Mulloy
Release Date: 1994
Rating: ★★★

‘The Invention of Writing (and Its Destruction)’ is the second of only three films in Phil Mulloy’s ‘The History of the World’-series, which apparently should have existed of 140 different shorts.

Like ‘The Discovery of Language‘ this is a film about sex. The short uses the same white characters as ‘The Discovery of Language’, and takes place in 2,000 years B.C. The short tells about a man who doesn’t manage to get sex, because he’s beaten again and again by other men.

Then the man uses his own penis as a pen, writing ‘The penis (pen is) mightier than the sword’. The invention of writing earns him a multitude of women to have sex with, but it won’t last.

Like ‘The Discovery of Language’ ‘The Invention of Writing (and Its Destruction)’ is essentially a silent film, with intertitles. Mulloy’s animation is simple and crude, and makes effective use of cut-out techniques. The result is a strange mix of sex, violence and absurd humor.

Watch ‘The Invention of Writing (and Its Destruction)’ yourself and tell me what you think:

‘The Invention of Writing (and Its Destruction)’ is available on the BFI DVD ‘Phil Mulloy – Extreme Animation’

Director: Phil Mulloy
Release Date: 1994
Rating: ★★★

‘The Discovery of Language’ is ‘episode 10’ of Phil Mulloy’s ‘The History of the World’, which in real life only consists of three films, of which this one is the first.

The film series uses Mulloy’s typical crude black and white style, enhanced by reds to depict blood. But unlike his other films, his characters are not black blots of inks, but white.

The short tells about a primitive tribe of women, 1,000,000 b.c. who discover letters in the soil, which together form the word ‘vagina’. As soon as they realize the meaning of the word they create their own Fall of Man, covering their crotches with skirts, and forbidding masturbation. Meanwhile, the men are on a similar quest to form the word ‘Penis’, but they are too stupid to fulfill the task.

The crude humor of this short is enhanced greatly by the effective soundtrack, featuring excellent music by Alex Balanescu.

Watch ‘The Discovery of Language’ yourself and tell me what you think:

‘The Discovery of Language’ is available on the BFI DVD ‘Phil Mulloy – Extreme Animation’

Director: Phil Mulloy
Release Date: 1994
Rating: ★★

‘Thou Shalt Not Steal’ is the most critical of Mulloy’s ‘Ten Commandment’ films.

This short tells about Hank, an honest worker in ‘Joesville, at the wrong side of the Mississippi’. Hank works at a building site, and all his colleagues are stealing stuff (in a rather absurd sequence of images), but he won’t.

When crisis hits Joesville, Hank ends on the street, while all his colleagues mysteriously have built homes for themselves…

The town of Joesville would return in the episodes ‘Remember to Keep the Holy Sabbath Day’ and ‘Thou Shalt Not Bear False Witness’

‘Thou Shalt Not Steal’ is available on the BFI DVD ‘Phil Mulloy – Extreme Animation’

Director: Phil Mulloy
Release Date: 1994
Rating:

‘Thou Shalt Not Commit Adultery’ is the fourth of Phil Mulloy’s ‘The Ten Commandments films’. This short tells about two astronauts, Tex an Mary Lou, who have feelings for each other, which they don’t express, because of their questionable marriages on earth.

This seems like a more critical episode than ‘Thou Shalt Not Kill‘, but Mulloy spoils it by an absurd postlude involving flies.

The black and white ink drawings are enriched by bright yellows and reds to depict flames of desire

‘Thou Shalt Not Commit Adultery’ is available on the BFI DVD ‘Phil Mulloy – Extreme Animation’

Director: Chuck Russell
Release Date: July 29, 1994
Stars: Jim Carrey, Cameron Diaz, Peter Riegert, Peter Greene, Amy Yasbeck, Richard Jeni
Rating: ★★★★½

Based on the comic book series of the same name ‘The Mask’ was originally conceived as a horror film, but was redrawn as a comedy-fantasy, leaving the comic’s violence behind, but retaining some of its dark overtones. The resulting film turned out be a great example of the animation renaissance that were the late 1980s and early 1990s.

‘The Mask’, of course, is a live action movie, but like that other, very influential live action feature, ‘Who Framed Roger Rabbit’, ‘The Mask’ takes its inspiration from 1940s classic cartoons. The most obvious influence is Tex Avery: we can see the Avery wolf as a statue in Stanley’s apartment, where our hero Stanley Ipkiss (Jim Carrey) watches an excerpt from Avery’s ‘Red Hot Riding Hood’ (1943). The Mask later mimics the wolf scene at the Coco Bongo Nightclub, when watching his love interest Tina Carlyle (Cameron Diaz) perform. Another Avery reference is the ridiculously long car in which the Mask arrives at the club.

Other influences come from Warner Bros. cartoons: during the transformation scene Stanley turns into a whirlwind, which is clearly inspired by the Tasmanian Devil. To make sure, the film makers show a pillow with Taz’s likeness on Stanley’s couch during this scene. In some scenes The Mask has some character traits in common with the early loony version of Daffy Duck, and in one scene, The Mask behaves and talks like Pepe le Pew, Chuck Jones’s lovesick skunk.

But The Mask has most in common with Bugs Bunny: both characters are very confident, always ready to turn threat into comedy, both kiss their enemies, both have an ability to produce props out of nowhere, and both put on highly dramatic fake death scenes. The Mask’s death scene is a particular highlight of the film, with references thrown in to Aunt Em, Old Yeller, Tiny Tim and Scarlet O’Hara. During this scene even a fake audience stands up – another nod to Tex Avery.

The Mask’s cartoony antics were realized by computer animation, then still in its early stages. The computer animation was in the good hands of Industrial Light & Magic, also responsible for some other early milestones like the CGI in ‘The Abyss’ (1989), ‘Terminator 2: Judgment Day’ (1991), ‘Death Becomes Her’ (1992), and of course, ‘Jurassic Park’ (1993). In those days CGI got visibly better with every film, thus back then the computer animation in ‘The Mask’ was spectacular in its novelty. In ‘The Mask ’the computer animation effects are all deliberately cartoony and unreal, and even if not all effects have aged very well, they’re still nice to watch.

Of course, Jim Carrey himself adds a great deal to the cartoony character of The Mask. At the time he was known by most as ‘that crazy white guy’ in the black comedy series ‘In Living Color’, and, indeed, in ‘The Mask’ he can be too much, but he shifts between his more timid Stanley Ipkiss character, and the wild Mask very well. The rest of the cast is in fine shape, too. Cameron Diaz makes her acting debut as the gorgeous Tina Carlyle, and although she’s introduced as a sex bomb in a classic scene, showing off her legs and boobs, Diaz gives her character a remarkable gentleness and depth, beyond the cliche ‘babe’ character. This is a remarkable feat giving the few scenes the character is given. No wonder ‘The Mask’ set her off on a great acting career.

Peter Greene plays a delightfully scary villain, and Peter Riegert has the unfortunate task to be the only actor to play it straight as Lieutenant Kellaway. But he’s better off than Amy Yasbeck, who is adorable as Peggy Brandt, but this journalist is the least convincing character of the whole movie. Special mention has to go to Max, the dog who plays Stanley’s dog Milo, and who manages to make this side character an entertaining addition to the cast. But even minor characters, like Dorian’s henchmen or the street gang are portrayed by fine actors.

Apart from the cartoon references the film breathes classic cinema, even though the story is set in a contemporary fictive metropolis called ‘Edge City’. First there are the cultural references. For example, the car Stanley Ipkiss loans, is an early 1950s Studebaker, at one point The Mask grasps a Tommy Gun popular with gangsters in the 1920s, he wears a zoot suit to the Coco Bongo Club, where Tina sings 1940s jazz hit ‘Gee, Baby, Ain’t I Good to You’, and as Cuban Pete The Mask makes a complete police force doing the conga, an early 1940s dance craze. Second, the film noir atmosphere is highly enhanced by the lighting, as is the fantasy element with the film’s strong coloring.

Typically nineties are the environmental touches: the opening shot of ‘Edge City’ clearly shows a heavily polluted town, and when Stanley and Tina watch the sunset, this looks more like the Northern Lights, making Ipkiss remark “the methane emissions really pick up the colors”.

True to the source material, The Mask is not an entirely likeable character: he’s too grotesque, too creepy, and too maniacal for that. I don’t think anyone would have chosen a character wearing a bald green skull-like mask, if it had not already been in the original comics. In that respect it’s a puzzle to me that the film was followed by an animated series starring this character. In the film, Carrey mostly rescues the character from becoming appalling by using his comedy talents, but during the ‘love’ scene with Tina at the park he becomes genuinely frightening, despite the comic references, and one is relieved the cops rescue Tina from this all too insistent character.

Nevertheless, Carrey manages to make his nice, but all too timid pushover Stanley Ipkiss likable, and his transformation to a guy with guts believable. Apart from all the cartoon references, celebrating classic cartoon humor, ‘The Mask’ also manages to succeed in delivering its message: Be nice, but stand up for yourself, and don’t let people mess with you.

Watch the trailer for ‘The Mask’ yourself and tell me what you think:

‘The Mask’ is available on DVD and Blu-Ray

Director: Isao Takahata
Release Date: July 16, 1994
Rating: ★★★

To start this film is not about raccoons, but about raccoon dogs, which, despite their similarity, are only distantly related to raccoon, being more akin to foxes. The story tells about a population of raccoon dogs living on the Tama hills in Southwest Tokyo. The raccoon dogs see their own environment giving way rapidly to the ever growing metropolis, and decide to fight back in order to save their homes, by reviving their old shape-shifting skills…

Apparently, the Japanese raccoon dog (Nyctereutes procyonoides viverrinus) or Tanuki, as the Japanese call him, has been a subject of a long folkloristic tradition. In this folklore the Tanuki has magical powers, being able to shape-shift, but he’s often too lazy, and too distracted to use them. Another peculiarity of this folklore is the focus on the raccoon dog’s testicles, which have magical powers themselves.


These character traits are clearly visible in ‘Pom Poko’: the raccoon dogs are depicted as carefree, fun-loving characters, their testicles are clearly visible, and used in some shape-shift transformations. For example, in one scene an elderly raccoon dog transforms his testicles into a giant carpet, in another a group of raccoon dogs use their inflated testicles as parachutes.


The shape-shifting scenes lead to some remarkable sequences, some of which are very close to pure horror, like a scene in which a cop meets all kinds of people without faces. This would have been a very frightening scene, indeed, if it were not depicted rather playfully, focusing on the police officer’s rather silly-looking panic, instead of the horror of the visions.

Most impressive of the shape-shifting sequences, and the undisputed highlight of the film, is the goblin parade. Here, too, some of the images are genuinely scary, but again, the depiction remains on the light side. For example, there’s a long scene with two men discussing the supernatural at a bar, completely oblivious of the mayhem occurring behind them.


It’s interesting to compare ‘Pom Poko’ to other environmentalist film of the era, like ‘FernGully: The Last Rain Forest’ (1992). Compared to the earlier film, ‘Pom Poko’ is remarkably mature. There’s nothing of FernGully’s magical ‘healing power’, nor does the film need a supervillain. In ‘Pom Poko’ ordinary men, none of them intrinsically mean, form a threat enough to the little forest creatures.


Soon it becomes clear that the raccoon dogs cannot win, and we have to witness several tragic deaths of these critters. Some die in one desperate last fight, others disappear on a mythical ship to the netherworld, some blend in into human society, and still others keep on living in an urban environment, scavenging the suburbs. In the end, the raccoon dogs must admit that man’s ability to transform the environment is much greater than their own shape-shifting abilities. Yet, this conclusion comes with a feeling of sadness of what’s been lost. Like many other Studio Ghibli films, there’s a longing to earlier times in this film, and especially the raccoon dogs’ last trick, reviving the landscape of old, is one of pure nostalgia.


‘Pom Poko’ is a mature film, but it’s not without its flaws. The film is told by using the weak voice over device, and it has a rather episodic nature, covering several years. Thus the story moves on a leisurely speed, not really building up to a grand finale. Moreover, there are a lot of characters in this film, and we don’t follow one in particular, which scatters the viewer’s focus.

Another peculiarity is that the film uses three styles to depict the raccoon dogs: first, a very realistic one, which accounts for some very impressive naturalistic animation. Second, the most dominant one, in which the raccoon dogs are depicted as clothed anthropomorphic characters. And third, a highly simplified one, in which the raccoon dogs suddenly become flat comic book characters, especially when celebrating. To me, it’s completely unclear why this third style is even present, and during these scenes the animation is often crude and repetitive, relying on reused animation cycles.


What doesn’t help is that the film is very, very Japanese: the behavior and rites of the raccoon dogs are sometimes enigmatic, and there are a lot of Buddhist and Shintoist references that are completely lost on the Western viewer. In that respect it’s a surprise that foxes have the same character traits in Japanese folklore as in Western tradition: in ‘Pom Poko’ the foxes are sly tricksters, too.


‘Pom Poko’ may not be perfect, it still is a very interesting film on human-animal relationships, it provides a small window into Japanese folklore, and it certainly is a very humane and mature film, showing us that one doesn’t need villains for destruction, and that some very valuable things are getting lost in the march of progress.

Watch the trailer for ‘Pom Poko’ yourself and tell me what you think:

‘Pom Poko’ is available on DVD and Blu-Ray

Directors: Roger Allers & Rob Minkoff
Release Date: June 15, 1994
Rating: ★★★★★ ♕

When ‘The Lion King’ was released I went to see the film three times in a row. At the time I lived on the tiny Caribbean isle of Tobago, and I went three times, partly because there was little else to do, partly because the film would disappear from the screen in ca. five days, anyway, but most importantly because the film made a deep impression on me. Strangely enough, I hadn’t seen the movie since, so after 25 years it has become high time.


Luckily, the film holds up very well after all these years. Indeed, not only was ‘The Lion King’ the highest grossing animation film thus far on its release, the movie still is one of the most popular animation films of all time. For example, it takes place 34 at IMDb’s top rated movie, as the second animated movie, after ‘Spirited Away’ on place 27, checked on November 21, 2020).

In that regard ‘The Lion King’ can be seen as the pinnacle of the Disney renaissance, because it tops an excellent row of Disney features (‘The Little Mermaid’ from 1988), ‘Beauty and the Beast’ from 1990, and ‘Aladdin’ from 1992), while the subsequent Disney movies of the nineties, while still good, would not reach the same heights again, nor stir the same sensation as these first four features did.

According to Mark Mayerson in ‘Animation Art’ this was partly because Disney’s success “caused other companies to start producing animated features. This diluted the talent pool and forced up wages and budgets” prompting management to interfere more in the film making process. Mayerson also detects pretentiousness and a lack of warmth in these later pictures (Animation Art, p. 305).

What certainly didn’t help was Toy Story’s big hit in 1995, suddenly shifting the future of animation from traditional to computer generated animation, a process that more or less was completed ten years later, after which traditional animated features would become extremely rare, at least in the United States.

Indeed, even in ‘The Lion King’ one of the biggest stirs among audiences (including me) was the computer generated stampede of wildebeests. This tour-de-force of computer animation was an impressive feat on the big screen, and though computer animation has been pushing the envelope ever forward since, the scene still holds up today, interestingly partly because the wildebeests are based on hand drawn designs.

There are more technical stunts to be found in ‘The Lion King’, both aided by the computer and not. Especially the opening scenes are literally stuffed with them, showing a sequence of mind-blowing images of African nature to the song ‘The Circle of Life’.

But much more impressive in the end is the character animation, which is top notch throughout, and which has an apparent effortlessness to it that never ceases to amaze. Especially the work by Andreas Deja and his team on Scar is impressive, making him a worthy successor of that other outstanding feline villain of the silver screen, Shere Khan (Jungle Book, 1967), greatly helped by his voice artist Jeremy Irons, who gives the character the perfect mix of self-pithy, sarcasm and sinister slyness.

Another stand out in the voices are Mufasa’s voice, which is deep and commanding, yet fatherly and compassionate, and which is provided by James Earl Jones of Darth Vader fame. Yet another is Whoopi Goldberg as the leader of a villain trio of hyenas.

Being a nineties Disney film, ‘The Lion King’ of course is a musical, a genre that certainly is not my favorite, but I must admit that Elton John’s and Tim Rice’s songs hold up very well, greatly aided by the imagery. ‘The Circle of Life’, as said, makes an impressive opener; ‘I Just Can’t Wait to Be King’ is spiced by very bold colors, and stylized background art (as well as anteaters, which do not occur in Africa – a strange and unnecessary error); Scar’s song ‘Be prepared’ is accompanied by evil greens and purples in a clear echo of Maleficent in ‘Sleeping Beauty’ (1959), and the love ballad ‘Can You Feel the Love Tonight’ is rescued from sappiness by the inclusion of Timon and Pumbaa mourning the loss of their friend. All these songs propel the story forward, none more so than the best song of all, ‘Hakuna Matata’, which neatly changes the infant Simba into the adult one.

Which brings me to the main reason the film still is a great classic: it’s told so well. The pace of the film is almost flawless, with exciting and more relaxing scenes distributed in perfect fashion. The only implausible scenes come at the end of the film: first there is Rafik’s all too simple cure of Simba’s guilt complex. I bet many psychiatric patients would die for such a quick resolution of their youth inflicted mental problems. Moreover, this scene includes a very unconvincing mystical dialogue between Simba and his deceased father. The finale uses two little too evident symbols of change and renewal (fire and rain), and how Simba manages to turn the wasteland of his kingdom into a prosperous country again, remains an utter mystery.

Nevertheless, the guilt that haunts Simba makes him an interesting and relatable lead character – like Aladdin he isn’t a flawless hero. And while it’s understandable he embraces Pumbaa’s and Timon’s relaxed lifestyle, it clearly cannot cure him from the haunts of his past, which he just has to face in the end, which means he has to overcome his biggest fears and insecurities.

It’s a great feat that the film makers have managed to weave such a deep theme into the more classic usurper tale, which is notably dark: we watch both a murder and a dead body on the screen, in what must be the most harrowing scene in a Disney animation film since the death of Bambi’s mother in ‘Bambi’ (1942), the film with which ‘The Lion King’ has most in common: both follow the main protagonist in his youth and in his adult life, both depict a very romantic concept of nature, and both have ‘the circle of life’ as their main theme, with ‘The Lion King’’s opening and closing scenes being undisputed echoes of the closing scene of the classic from the 1940s.

Because ‘The Lion King’ is a rather serious tale, it’s a little low on comedy. Indeed, there are very few real gags in this film, one of them unusually self-parodying: at one point a caged Zazu (Rowan Atkinson) starts singing ‘it’s a small world after all’, which immediately prompts Scar in an anxious ‘No, no, anything but that!’. The other great gag of the movie is when Timon refers to the sad Simba as ‘He looks blue’, on which Pumbaa replies ‘I’d say brownish gold’. That said, the film is absolutely balanced in its mix of humor and drama, and never becomes heavy-handed.

In all, ‘The Lion King’ has hold up after these 25 years, and has his rightful place as one of the greatest films of all time, animated or not. And I seriously wonder why a remake was at all necessary or welcome, for in my opinion the original cannot be topped.

Watch the trailer for ‘The Lion King’ yourself and tell me what you think:

‘The Lion King’ is available on DVD and Blu-Ray

Director: Jeff McGrath
Stars: Duckman
Airing Date: June 11, 1994
Rating: ★★★½

‘Joking the Chicken’ is all about humor. It all starts nicely with a spoof on ‘2001: a Space Odyssey’, now with the invention of humor instead of violence (in fact the invention of humor looks surprisingly like a similar scene in ‘La guerre du feu’ (Quest for Fire) from 1981).

The episode features a dorky bespectacled little stand-up comedian called Iggy Catalpa, who isn’t at all funny, but oh so politically correct. Enter an enigmatic manager who mysteriously turns the failing comedian into a star, forcing all comedy into being politically correct on the way.

It’s clear where the makers are heading, which is nicely summed up during the episode’s finale, in which Duckman holds a powerful speech that not only holds up today, but is even more necessary than ever.

Yet, the episode is hampered by a lack of substance story-wise, and by the reapparance of Duckman’s arch nemesis, King Chicken (see ‘Ride the Highschool‘), who is a much less interesting character than the makers want him to be.

Most strange is a 1930s-like musical number sung by the manager accompanied by Cornfed on the piano. Duckman isn’t impressed, and we are neither, because this number is rather trite than funny, and only manages to emphasize the obsolescence of the style.

Thus ends the first season of Duckman: Private Dick/Family Man. It was clear that there was more to do with the character, thus three seasons would follow, and the series lasted until 1997.

Watch ‘Joking the Chicken’ yourself and tell me what you think:

‘Joking the Chicken’ is available on the DVD-box ‘Duckman – The Complete Series’

Director: Raymie Muzquiz
Stars: Duckman
Airing Date: June 4, 1994
Rating: ★★★★★

‘About Face’ is one of the deepest of the Duckman episodes, and together with ‘Psyche‘ and ‘American Dicks’ forms the highlight of the first season.

Despite the usual dose of absurd humor and fast verbal wisecracking, the episode is actually moving, and knows an unexpectedly touching and somber ending, a very rare feat in both animated series and television comedy, indeed.

In this episode Mambo accidentally swallows a model of the titanic, which prompts Duckman to call 911. He immediately falls in love with the sweet voice on the other side of the line, and when she calls back, he immediately sets out to date her. Her name turns out to be Angela, and she is the sole person with whom Duckman not only feels like a good person, but also behaves like one.

Problem is, she’s “facially challenged” as Cornfed puts it, not to say hideously ugly (this trait is played out grotesquely, with people becoming terrified, fainting and fleeing when she walks by, echoing the skunk gags in Tex Avery’s ‘Little ‘Tinker’ from 1948). But then she decides to change all this…

This is one of the Duckman episodes deepening the character of the series’ protagonist, and actually make the audience feel for him. Notwithstanding, the episode contains plenty of comedy, with as highlights the scene in which Duckman is holding a telephone conversation with his beloved while his house burns down, and the scene in which Cornfed and his own date are mime dancing to no music.

Watch ‘About Face’ yourself and tell me what you think:

‘About Face’ is available on the DVD-box ‘Duckman – The Complete Series’

Director: John Eng
Stars: Duckman
Airing Date: May 28, 1994
Rating: ★★★★★

In what is arguably one of the most inspired Duckman episodes of all, Duckman is the unlikely star of a reality television show called ‘American Dicks’, a spoof on the television series Cops, which first appeared on television in 1989, and still runs.

In this episode Duckman suppossedly is followed by a cameraman with a hand-held camera, which leads to scenes with odd staging, distorted body parts, as Duckman and the others repeatedly talk into the camera, and even animated backgrounds, a rare feat since the early 1930s.

Moreover, the images are more often than not in constant motion, suggesting camera movements and even walking. This is done with such skill that the ‘documentary camera style’ is evoked very convincingly, despite the looney images within them.

This episode is one of the very few episodes in which Duckman veritably is a private detective, even if he turns out to be the worst and most oblivious one around, leaving it to Cornfed to solve the case.

What doesn’t help is that Aunt Bernice interferes with the program when she learns that the audience is predominantly male between the age of 20 and 55. Promptly, she advertises herself as wedding material. During the finale there are even severe closeups of her breasts and buttocks.

Even the kids get their moments in this episode, which is full of great gags, both in visually as in the soundtrack. A true classic.

Watch ‘American Dicks’ yourself and tell me what you think:

‘American Dicks’ is available on the DVD-box ‘Duckman – The Complete Series’

Director: Norton Virgien
Stars: Duckman
Airing Date: May 21, 1994
Rating: ★★★½

‘Cellar Beware’ is another episode exploring Duckman’s role as a “responsible” father.

This time Aunt Bernice decides to ask some visitors over, and drills the men of the house to behave. She also invites some speaker about home security, and after a lecture full of apparently horrifying slides, the once so skeptical Duckman buys the “Interloper Führer 2000” security system, which soon turns against the family itself.

It’s hard to sympathize with Duckman in this episode, even though he acts surprisingly heroically in the end. The party sequence is probably the highlight of the episode, which is entertaining mostly because of Ajax’s brainless remarks, and because of a bizarre reference to ‘The Sound of Music’. Note Mambo’s very Paul Driessen-like double take ten minutes into the episode.

Watch ‘Cellar Beware’ yourself and tell me what you think:

‘Cellar Beware’ is available on the DVD-box ‘Duckman – The Complete Series’

Director: Igor Kovalyov
Stars: Duckman
Airing Date: May 7, 1994
Rating: ★★★½

Russian independent animation master Igor Kovalyov directs this erotically charged episode in which Duckman’s son Ajax falls in love.

The story features a very unlikely undercover investigation by Duckman and Cornfed dressed as ‘teenagers’ in Ajax’s school. More convincing and more importantly to the series is the search for Ajax by Aunt Bernice and Duckman in some honeymoon town in Mexico.

Duckman is more lustful than ever in this episode, which expands on both his relationship with Aunt Bernice as with his son, Ajax. Cornfed, on the other hand, is hardly present. His best gag is when he’s in a tree together with Duckman, spying on Ajax’s vice principle, fooling Duckman with describing erotic images to drive the latter’s lust to a boil.

The whole episode bursts with sex without revealing anything, and certainly is one of the most adult of all Duckman episodes, even if Duckman’s own desires and objectifications of women are rather juvenile.

Watch ‘It’s the Thing of the Principal’ yourself and tell me what you think:

‘It’s the Thing of the Principal’ is available on the DVD-box ‘Duckman – The Complete Series’

Director: Paul Demeyer
Stars: Duckman
Airing Date: April 30, 1994
Rating: ★★½

Still from 'Not So Easy Riders' featuring Duckman and Cornfed as Easy Riders

This episode is all about the money. It starts with Duckman chasing a one dollar bill on a busy street, getting hit by cars and trucks repeatedly.

Next Duckman gets a letter from the IRS summoning him to finally pay his taxes. With help of a motor gang Duckman escapes, and, together with Cornfed, ends up in Las Vegas.

‘Not So Easy Riders’ contains obvious references to ‘Easy Rider’ (1969). Especially Duckman’s psychedelic trip is noteworthy for its continuous flow of metamorphosis animation and psychedelic sixties-like imagery.

Moreover, the episode can boost to contain some nice snippets of familiar Frank Zappa songs, like ‘Disco Boy’ and ‘Take Your Clothes Off When You Dance’.

Yet, its story arch is weak and the humor relies a little too much on dialogue.

Watch ‘Not So Easy Riders’ yourself and tell me what you think:

‘Not So Easy Riders’ is available on the DVD-box ‘Duckman – The Complete Series’

Director: Norton Virgien
Stars: Duckman
Airing Date: April 23, 1994
Rating: ★★★½

In an act of jealousy Duckman fires Cornfed, but without his partner the avine crimefighter doesn’t go anywhere in solving a murder case…

This episode knows some extreme camera angles, and a running gag in which everybody sees something else in a Rorschach-test-like pen stain on Duckman’s chest.

Watch ‘A Civil War’ yourself and tell me what you think:

‘A Civil War’ is available on the DVD-box ‘Duckman – The Complete Series’

Director: Raymie Muzquiz
Stars: Duckman
Airing Date: April 16, 1994
Rating: ★★★

In this episode Duckman’s backward son Ajax is invited to attend a boarding school. After Duckman has visited Ajax’s present school, he sends his son off quickly.

Duckman’s visit to Ajax’s most atrocious school is a highlight. He e.g. gets beaten by caricatures of ‘Our Gang’. Better still is the montage sequence of Duckman and Ajax having some quality time during their last weekend together. Yet, the best line is for aunt Bernice, who tells Duckman when he drools over an attractive boarding school student: “You’re despicable! You’ve got kidney stones older than her!”.

‘Ride the High School’ introduces King Chicken as Duckman’s arch nemesis. King Chicken would never become a frequently recurring star, but he would return in eleven more episodes, including the very last one.

Watch ‘Ride the High School’ yourself and tell me what you think:

‘Ride the High School’ is available on the DVD-box ‘Duckman – The Complete Series’

Director: John Eng
Stars: Duckman
Airing Date: April 9, 1994
Rating: ★★★★

‘Gland of Opportunity’ starts with the family being stuck in a long traffic jam on their way to an amusement park, loosely based on Disneyland.

Inside the amusement park, Duckman and his family spend the rest of the day waiting in an overlong line for a roller coaster, but Duckman chickens out just before the ride.

In a rather incomprehensible scene switch he suddenly finds himself in a hospital about to get an andrenoid gland transplant. He goes through with it in the hope to get more courage, and to become more of a role model to his kids.

And indeed, as soon he awakes, and convinces himself he has the gland of a deceased daredevil he becomes a superhero, solving crimes by the dozen and becoming a superstar in now time. But he also is a bad influence on his kids, whom he takes from school to experience ‘the school of life’, which is one long trip around the world. It’s up to Cornfed to restore the situation.

What’s great about ‘Gland of Opportunity’ is that the makers make clear that Duckman’s newborn drive may be originated in a delusion, but that it’s motivated by Duckman’s desire to be respected and admired by his sons. Of course, in the end he utterly fails, but by then we viewers have had a wonderful roller coaster ride of an episode.

Watch ‘Gland of Opportunity’ yourself and tell me what you think:

‘Gland of Opportunity’ is available on the DVD-box ‘Duckman – The Complete Series’

This episode is all about Duckman’s sexual fantasies.

Director: Paul Demeyer
Stars: Duckman
Airing Date: March 26, 1994
Rating: ★★★★★

After the death of his wife Beatrice, one and a half year ago, Duckman’s sexual live has come to a standstill, while Cornfed even admits he’s still a virgin.

Matters get worse when Duckman and Cornfed are visited by a blonde twin, who look like the epitome of male fantasies, with their huge boobs and seductive voices. But Duckman is so insecure he goes through plastic surgery, enlarging his bill, to dare to confront the twin.

Yet he really gets cured by a weird dominatrix-psychiatrist. This part contains a great journey inside Duckman’s inner soul, and we learn how his former wife Beatrice died.

This highly entertaining episode knows some great reuse of Avery’s classic wolf takes, and features excerpts from two Frank Zappa songs.

Watch ‘Psyche’ yourself and tell me what you think:

‘Psyche’ is available on the DVD-box ‘Duckman – The Complete Series’

Director: Norton Virgien
Stars: Duckman
Airing Date: March 19, 1994
Rating: ★★½

Still from 'Gripes of Wrath' featuring Cornfed and Duckman wandering through the perfect world

After the first two great Duckman episodes, ‘Gripes of Wrath’ feels as an enormous letdown. Compared to the earlier two entries, this story is surprisingly disjointed.

The episode starts with Duckman wanting to go to mud wrestling, but ending up taking his sons to a science exhibition instead. There they meet a giant supercomputer, and before soon this machine has taken over the world and turned it into a perfect one. But this perfection can’t last and as easily the same world disintegrates into one worse than before.

These series of events are clearly modeled on ‘Back to the Future Part II’ (1989), with a bit of ‘2001: a Space Odyssey’ thrown in.

Unfortunately, the story is told rather confusingly and quite hard to follow, and the underlying discourse about the use of technology never really takes off properly.

Watch ‘Gripes of Wrath’ yourself and tell me what you think:

‘Gripes of Wrath’ is available on the DVD-box ‘Duckman – The Complete Series’

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 1,020 other followers

Bookmark and Share

Follow TheGrob on Twitter

Categories